https://www.thelooploft.com/blogs/ryans-corner.atomThe Loop Loft - Ryan's Corner2018-05-22T13:44:00-07:00The Loop Lofthttps://www.thelooploft.com/blogs/ryans-corner/5-mixing-mistakes-to-avoid2018-05-22T13:44:00-07:002018-05-23T12:14:22-07:006 Mixing Mistakes to AvoidRay Reich
Bouncing the dreaded “final mix” is one of the most crucial steps we take before our song is irrevocably released into the world. Here are 6 common mistakes to avoid when completing the perfect mix.

]]>
Bouncing the dreaded “final mix” is one of the most crucial steps we take before our song is irrevocably released into the world. While most find themselves spending too much time in a seemingly endless world of final versions, here are 6 common mistakes to avoid when completing the perfect mix.

1 - MIXING WITHOUT A REFERENCE

A few of us might be striving to pave new ways and achieve previously uncharted results, but most of us are trying to make music that sounds good, and fits into the genre in which we work.

While it’s easy to get lost in a sea of creative choices, save yourself from reinventing the wheel, and pull up a reference of two! Think of mixing as an open-book test on how to make your songs sound, and your references as the answers. Listen critically to them - use your analytical ear to scan each frequency range, and understand what’s happening. (And for you producer/mixers, this goes for production as well!)

2 - NEGLECTING SPACE

Music, just like the rest of the world, exists in all three dimensions - left/right, up/down and close/far.

Left/Right

The obvious one handled by panning - use it! Move things around, and do so asymmetrically. Tilt something a little on one side, and don’t balance it out on the other. It may initially feel a bit off, but the end result is one of spatial and sonic interest. Throw that shaker all the way over! You can compensate for hard-panned elements by turning them down a bit so they don’t stick out of the mix.

Up/Down

This refers to the frequency spectrum. Are you covering the entire range? Are you putting too much or too little in certain areas? Are elements competing, or do each have their own carved out space? Does your song’s frequency spectrum stay the same throughout the entire arrangement, or are there variations throughout the song’s sections? For example, perhaps the ultra-highs only open up during the choruses to add a little sparkle and excitement.

Close/Far

Tools like reverb and delay can be used to simulate distance and space. But remember, everything is relative; therefore, something can only sound as far away as there is something close for comparison. In other words, if everything is wet with reverb, the mix will probably sound like a muddy, washed out mess. Similarly, if everything is dry it could sound too invasive and disturbing. Add some elements that are dry and up close, some that are wet with reverb to simulate vast distance, and then fill the middle with things that are in between. This will make your mix sound like it’s taking up a very interesting space. And just like frequency and panning, try changing things up over the course of the song! For example, maybe the far-away elements only happen during the choruses to give the sense of “opening up”, while things get closer during the verses to give a sense of intimacy. A stagnant mix feels and sounds like one; things should be moving and alive. Back in the days of analog consoles with motorized faders, they would say the sign of an excellent mixing engineer was if, when you watched their board while the song was playing, the faders would all be moving, and the board would look alive and responsive to the music.

3 - MIXING INTO A LIMITER FROM THE START

A lot of producers/mixers throw a limiter on the output track as one of the first steps when starting a song. However, I believe doing this will negatively influence all the decisions you make going forward, as well as tie your hands later on when it’s time to do the final mix.

For an analogy regarding limiters, I’d like to briefly turn to the visual arts. Imagine an artist making a painting (the song/mix), and then as a final step they will hang a translucent colored sheet over the painting, ultimately giving the painting a certain desired color cast (the limiter). If the artist were to look through the colored sheet from the start of the painting, I feel they would lose a bit of objectivity. For one thing, all the colors available to paint with would look different from their true color. As the painting progressed and if the artist wanted to make any changes, they would have a more difficult time accurately doing so. Now, suppose while working they temporarily lifted the colored sheet from their eyes to see the painting’s progress thus far - they might be surprised at the colors they’ve been using! As we near a project’s completion, surprises are not a good thing. Instead, I believe the artist is better off keeping the colored sheet in mind while they work, but waiting to add it in until the main elements of the painting are in place.

It’s best to maintain as much objectivity as possible throughout the producing/mixing process, especially when you first begin. If you start with a limiter, you may think your mix sounds really good because it’s loud and the drums are punchy. But suppose there’s a certain issue that needs to be addressed - perhaps the vocals are not coming through clearly, or the drums don’t hit hard enough. You turn them up, but it doesn’t help - the mix just gets muddier. So you bypass the limiter, and you’re shocked at what you hear... We’ve all been there! At this point, trying to rescue a mix is difficult, time consuming and a little depressing. It’s better to catch these issues early on, or ideally avoid them altogether.

4 - NOT LEAVING ENOUGH HEADROOM

While we’re talking about limiters, leave enough headroom! Pull the faders down, turn your speakers up and leave PLENTY of room. All meters should be in the green 100% of the time with room to spare (unless for some creative reason you intentionally choose to have something clipping or in the red). Not only will this yield a better end result, it will also leave you the space necessary for corrections down the road. If you mix into a limiter from the start you’ll never have the opportunity to achieve this proper balance (and if you eventually employ a mastering engineer, they will be very upset with you). Don’t hide behind a limiter hoping it covers your mistakes; put it on and attain the very best mix you possibly can.

5 - MULTITASKING

You wouldn’t wear two hats on your head; so why would you perform two very different, demanding jobs at the same time? Produce first, then when it’s time, switch to mixer. Naturally, as you work on a song you want it to sound good, and so there will inevitably be a bit of mixing as you go. Nevertheless, do your best to focus only on production until the song is completed, and then switch gears into mixing mode to finish (and stay there). Bouncing back and forth will only yield poor results in both domains. Studies show that when we focus on a single task, we perform much better and more efficiently!

Don’t worry too much about the mix during production phase. Let your creative brain run wild! Focus on the artistic elements: the flow of the song’s arrangement, the instrumentation, sound design, vocal production (if applicable), etc. Once the song is in place, all elements are present, and the arrangement is satisfactory - commit things to audio and switch to the mixing phase. I’ve even pulled all faders to zero and began a mix from scratch. One song I was working on just wasn’t feeling right - the choruses weren’t getting big enough, the beat wasn’t driving enough, the vocals weren’t present enough... I was struggling with what I had originally thought were production issues. Rather than battling the song, I decided to pull everything to zero and do a “final mix”. In doing so, I discovered a lot of very interesting space. As elements were brought in one-by-one, I was able to hear the song in a new light and realized I didn’t need everything in all at once.

6 - AVOIDING MIX BUSSES

A common goal we all seek in our final mixes is to make the sounds feel “glued together”. Things should gel, mesh well and feel like they fit together nicely. Part of making this happen comes from careful work in the frequency spectrum (as mentioned earlier), while utilizing mix busses. After all, what better way to make sounds come together than to actually process their signals together? If we think back to the days of analog consoles, some of the magic these pieces of equipment offered came from their signal flow, the way multiple sounds were combined into single channels and treated as a whole. Eventually, the entire song would be summed into two output channels (left and right). This was not through software, but rather “analog summing”. When this summing occurs, sounds are literally combined by way of meticulously selected electrical components, making them sound and feel like one singular thing. (At this point in music technology history, it becomes clear why we referred to mixing engineers as “engineers” - they really were!) We can achieve something close to this effect in our DAW by bussing separate tracks into groups, thereby treating things in larger chunks.

Let’s analyze how a 20-track production can be mixed down to 4 tracks. For the sake of simple math, let’s say we have 4 tracks of each category of instruments: Drums, Synths, Guitars, FX, and Vocals. Let’s say the drums are Kick, Snare, and 2 Cymbal tracks (Hi Hats & Crashes). For the Vocals, you have 2 leads, and 2 background tracks. Start out with each track getting its own compressor and EQ.

Let’s start with the drums: Buss the cymbals together to bring the drums from 4 tracks down to 3 (Kick, Snare, & Tops). Taking Vocals next: buss the leads together, and the backgrounds together, bringing total Vocals from 4 down to 2. Now buss each subgroup together (Drums, Synths, Guitars, FX, Vocals) so that your total mix is down to 5 tracks. Then, stuff the Synths and Guitars into another subgroup and compress them again. Now you’re down to 4. At each bussing stage, you should be adding a light compressor. Think of each reduction stage as a round of glue. Each time the separate sounds get processed together, they will mesh and become one.

Another way to use mix busses are with effects. (This also relates to working in all 3 dimensions.) For example, instead of putting a separate reverb on each individual track, make a reverb buss and send a few tracks to it. This will create the sound of those instruments existing in the same space together. Creating two or three of these reverbs (perhaps small, medium, and large) will allow you to cover a variety of sizes and spaces in which your instruments can exist. And remember what we mentioned earlier about moving, dynamic, alive mixes? Creating these effects busses is a perfect opportunity for some interesting automation! Now you can modulate the sends of your separate instruments over the course of the song, creating a nice spatial dynamic interest.

There we have it! Avoiding the 6 mistakes listed above will hopefully help us all get to that “final final final mix” just a little bit sooner, and with a few less gray hairs. Please leave your questions and comments below. What are some of your tips and tricks we can all learn from? Good luck, and happy mixing!]]>
https://www.thelooploft.com/blogs/ryans-corner/is-this-synth-heaven2017-11-21T11:13:00-08:002017-11-21T13:45:39-08:00Is This Synth Heaven??Ryan Gruss
Montreal electro funk duo, Chromeo, have packed up their massive arsenal of vintage synths and relocated to a new studio, deep in the heart of Burbank, California.

“We wanted to set up shop in LA to make this album, a la Steely Dan “Aja”. One of those 70’s, really slick, ‘New York band in Los Angeles’ kind of albums.”

From what we can see (and hear), they definitely have the tools to make that happen. Which synth in Chromeo's collection is your personal favorite?

]]>
https://www.thelooploft.com/blogs/ryans-corner/12378581-using-midi-and-audio-drum-loops-together-video2017-09-26T22:00:00-07:002017-09-28T07:53:55-07:00Using MIDI and Audio Drum Loops Together (Video)Ryan Gruss
Wondering how to add a little polyrhythmic spice to your 4/4 grooves? In this video, we use Ableton Live to show you how to take a simple audio loop in four and combine it with MIDI grooves in 3/4 and 4/4 (8 bars long), to create something entirely new and unique.

Wondering where to get started with loops? Are you staring at your DAW, waiting for inspiration to strike?? Here's the good news: Loops are the perfect springboard for rhythmic and sonic creativity. They are the ultimate source material meant to be manipulated and molded into your own work of art. To help you get started with this process, here are 5 essential tips for creative looping:

Tip 1 - Shift The Pitch!

With a kick drum, snare drum, hi hats and cymbals all present in a single drum loop, you instantly have a palette of the entire frequency range to paint rhythm with. Our personal favorite DAW for using this "shift the pitch" method is Reason and their extremely powerful Dr. Octo Rex player. In this example, we're using a drum loop from our Dry Drums Series and using the "slice edit" mode option to shift the pitches of the various parts of the drum kit.

Tip 2 - Make It Dirty

Looking to add some extra bite, cut and aggressiveness to your drums? Dirty them up with distortion! Our "go to" software for this technique is iZotope's stellar Trash 2 plugin. Just load up Trash on your drum loop track and start previewing the presets to find that "perfect" amount of grime you're looking for. From there, adjust the dry/wet parameters to dial in the perfect mix of sludge and sublime.

Tip 3 - Layer Them Up

﻿What's better than 1 loop? Multiple loops layered on top of each other! When Ableton entered the DAW market back in 2001, their clip-based approach to production opened the doors to quickly stacking and layering loops. In this example, we're using our Track Stacks series inside of Ableton, showing how you how it's possible to orchestrate an entire "drum ensemble" with loops.

Tip 4 - Mix With Multitracks

Want to take total control over the sound of your drums? That's where multitrack loops come in. With multitracks, you have the ability to dial in and process EVERY single element of a "live" (not MIDI) drum kit including the kick, snare, overheads, toms and even room mics. With multitracks you get the best of both worlds: the human, organic feel of a live drummer AND the ability to tweak the sounds of the kit to perfectly fit the mix and vibe of your production. In this example, we're working with 15 tracks of live drums from our Omar Hakim collection.

Tip 5 - Go Linear

Linear drumming is a style of playing where no two limbs hit at the same time. These grooves are typically broken up between the snare, kick, hi hat and toms, creating a unique, lilting feel. Using a DAW like Reason (again, utilizing the Dr. Octo Rex player), you can take "traditional" non-linear drum loops and strip away various elements of the beat to create your own customized linear drum groove. Using this method will open up a whole new world of beat making with your loop library.

]]>
https://www.thelooploft.com/blogs/ryans-corner/why-the-loop-loft2017-09-02T07:03:00-07:002017-09-02T11:46:16-07:00Why The Loop Loft?Ryan Gruss
We sat down with Los Angeles based producer, composer and bassist, Mocean Worker, to find out how he integrates The Loop Loft into his music production workflow.

Are you ready to experience The Loop Loft difference on your tracks? Click here to browse hundreds of libraries ranging from funk, pop, jazz, rock, cinematic, hip hop and more!

]]>
https://www.thelooploft.com/blogs/ryans-corner/video-an-inside-look-at-moog-hq2017-08-19T10:54:00-07:002017-08-19T10:57:10-07:00VIDEO: An Inside Look At Moog HQRyan Gruss
Wondering what it looks like inside the headquarters of the world's greatest analogue synth maker? Our friends at Vintage King took their camera's down to Moog's Asheville, North Carolina facility and captured some incredible, behind the scenes footage of what goes into making these iconic, handbuilt instruments.

About Moog: The Moog company pioneered the commercial manufacture of modular voltage-controlled analog synthesizer systems in the mid 1960s. The technological development that led to the creation of the Moog synthesizer was the invention of the transistor, which enabled researchers like Moog to build electronic music systems that were considerably smaller, cheaper and far more reliable than earlier vacuum tube-based systems. More info...

]]>
https://www.thelooploft.com/blogs/ryans-corner/do-you-believe-in-magic-drum-rooms2017-06-26T09:46:00-07:002017-06-26T09:51:21-07:00Do You Believe In Magic (Drum Rooms)?Ryan Gruss
If you've ever recorded live drums, then you know how important the actual room is to the finished product. Small, carpeted rooms with additional acoustic treatment will have a super "dry" sound, due to the lack of sonic reflections, while big rooms with high ceilings, hard surfaces (like concrete and dense wood) will produce a much more "live" drum sound due to long decay times (aka natural reverb).

But here's the crazy thing.... One of the most iconic drum rooms in history was never even meant to be a drum room at all. The live room at Sound City Studios was originally built as a factory for Vox amplifiers in the 1960's. With it's parallel surfaces (an acoustics 101 no-no) and square, "boxy" shape, it technically should sound horrible. But it doesn't. It sounds like hit records.

Nirvana, Fleetwood Mac, Tom Petty and The Heartbreakers, Rage Against The Machine, Metallica and The Red Hot Chili Peppers (just to name a few) have recorded some of their most successful albums in this very (unconventional) room.

]]>
https://www.thelooploft.com/blogs/ryans-corner/video-the-early-days-of-sampling2017-06-08T14:05:00-07:002017-06-08T15:08:43-07:00VIDEO: The Early Days of SamplingRyan Gruss
These days, most of us (including myself) take sampling for granted. We have our MPCs and MASCHINEs sitting right in front of us, and it's just a matter of dragging and dropping a file and you're good to go.

But that wasn't always the case. In addition to technically being more "work" to get the audio into your own track, early sampling was often "lifted" from copyrighted material, causing a firestorm of legal battles between content owners and those using their audio.

This video is a great look into where the sampling world was back in 1988, both legally and technically. Also, I'm pretty sure that's a young Saul Goodman at the 7:45 mark.

]]>
https://www.thelooploft.com/blogs/ryans-corner/video-we-are-the-world-behind-the-scenes2017-06-07T10:43:00-07:002017-06-07T10:44:03-07:00VIDEO: We Are The World (Behind The Scenes)Ryan Gruss
Ok, this is pretty fascinating. Sit back, and enjoy this rare, behind-the-scenes footage of one of the most iconic (and top-selling) songs in music history, 'We Are The World':

This particular video is from the final night of overdubs at A&M Studios in Hollywood on January 28, 1985. The sheer amount of "pop stars" in the same room is a bit mesmerizing... Michael Jackson, Bruce Springsteen, Lionel Richie, Steve Perry, Daryl Hall and Cyndi Lauper, just to name a few.

Watch them work out the vocal harmonies and the bridge section, and take special note of their "mic technique", as they are all gathered around several AKG C 12 mics. This recording session was truly history in the making.

]]>
https://www.thelooploft.com/blogs/ryans-corner/the-ultimate-guitar-demo2017-05-26T10:19:00-07:002017-05-26T10:35:03-07:00The Ultimate Guitar Demo?Ryan Gruss
It's no secret that different styles of guitars have different sounds, but it's amazing to sit back and watch one of the world's greatest guitar players demonstrate the unique sonic qualities of a Stratocaster, Les Paul, a resonator and an acoustic.

Enjoy this video of Mark Knopfler (Dire Straits) playing a variety of guitars and explaining how the different tones and timbres of each of them inspired him to write some of the most popular songs in modern history.

What's your favorite guitar, and why? Let us know below in the comments.

]]>
https://www.thelooploft.com/blogs/ryans-corner/bootsy-collins-explains-playing-on-the-one2017-05-02T15:12:00-07:002017-05-03T14:42:49-07:00Bootsy Collins Explains Playing On "The One"Ryan Gruss
In funk music, there's often a lot of talk about playing on "the one", but what does it really mean??

In this video, legendary bassist, Bootsy Collins, explains how James Brown taught him how to play (or not play) on "the one" and take funk to the next level.

Bootsy gets into more detail about the "Funk Formula" in the video below:

This is a great reminder of how the "less is more" approach can have a huge impact on the feel of music. Get out of the way, stay funky and always remember "the one". Thank you, Bootsy.

]]>
https://www.thelooploft.com/blogs/ryans-corner/could-this-be-the-best-drum-groove-ever2017-04-26T14:08:00-07:002017-08-01T06:48:39-07:00Could This Be The Best Drum Groove Ever?Ryan Gruss
One of the most iconic drum grooves in history is the halftime shuffle on Toto's hit song, "Rosanna", performed by the late, great Jeff Porcaro.

The internet had blessed us with this isolated drum track (along with isolated previews of all of the other instruments) from the original 1982 recording session. Sit back, close your eyes, and enjoy one of greatest drum beats ever recorded.

BONUS:

﻿Here's Jeff Porcaro breaking down the Rosanna drum groove and giving a little history lesson about the source and inspiration:

]]>
https://www.thelooploft.com/blogs/ryans-corner/lets-examine-this-word-reggae-stewart-copeland2017-04-10T09:31:00-07:002017-04-10T09:49:21-07:00"Let's examine this word, 'reggae'..." - Stewart CopelandRyan Gruss
In this 1981 interview with Jools Holland, Stewart Copeland gives us a quick history lesson about the backbeat of drums in popular music, starting with early jazz, to Motown to funk.

Taking things a step further, Stewart demonstrates how reggae music uses the backbeat and completely flips it "upside down", placing it on beat 3 with the kick drum.

Not only is this a great primer for the basis of reggae drumming, it also gives an inside look into how Stewart's own "style" has been heavily influenced by the music of the West Indies and South America.

]]>
https://www.thelooploft.com/blogs/ryans-corner/the-loop-loft-all-stars-live-at-the-blue-note-nyc2017-03-15T15:43:00-07:002017-12-29T15:31:36-08:00The Loop Loft All-Stars - Live At The Blue Note NYCRyan Gruss
A few weeks ago, The Loop Loft All-Stars gathered at the legendary Blue Note jazz club in New York City for one night of incredible music. Here are just a couple of videos from that night:

]]>
https://www.thelooploft.com/blogs/ryans-corner/12-amazing-isolated-vocal-tracks2016-11-03T12:38:00-07:002016-11-03T12:48:06-07:0012 Amazing Isolated Vocal TracksRyan Gruss
If you’ve ever wondered what your favorite singer’s voice sounds like in its purest form, the musical sub-genre of isolated vocal tracks can offer a clue. Here are 12 videos of popular songs stripped of everything but the vocals—some of them strange, others eerily beautiful.

1. “HELLO” // ADELE

Adele’s vocals for her new hit single “Hello” are even more powerful without the background music.

2. “SMELLS LIKE TEEN SPIRIT” // NIRVANA

Nirvana kicked off a new era in rock music in the 1990s, but can “Smells Like Teen Spirit” be as powerful without the driving guitars? The song feels more eerie than hard-hitting with only Kurt Cobain’s haunting vocals.

3. “BEAT IT” // MICHAEL JACKSON

One of Michael Jackson’s most iconic songs seems less urgent without the music behind his amazing vocals. Something is lost without Eddie Van Halen’s killer guitar solo, too.

4. “FELL IN LOVE WITH A GIRL” // THE WHITE STRIPES

Even without the heavy guitars and feverish drum beats, “Fell in Love with a Girl” is still a catchy tune.

5. “BEAUTIFUL” // CHRISTINA AGUILERA

Christina Aguilera’s isolated microphone feed vocals of her live performance of “Beautiful” prove that her voice is just as impressive without the music.

6. “BLACK HOLE SUN” // SOUNDGARDEN

Soundgarden’s “Black Hole Sun” is a haunting song. Even without the benefit of music, Chris Cornell’s vocals are just as stirring.

7. “WONDERWALL” // OASIS

Noel Gallagher’s lyrics and his brother Liam’s vocals for Oasis’ “Wonderwall” seem even more sad without the backing music.

8. “LOSE YOURSELF” // EMINEM

“Lose Yourself” won Eminem an Academy Award in 2003 for “Best Original Song” for 8 Mile. He probably still would’ve won the Oscar even without the music behind his intense rhymes.

9. “NO ONE” // ALICIA KEYS

Alicia Keys’ performance of her hit song “No One” with her microphone feed isolated proves that she’s a genuine talent.

10. “GOD ONLY KNOWS” // THE BEACH BOYS

The acapella and isolated vocals of The Beach Boys’ “God Only Knows” work just as well as the studio version with musical accompaniment.

11. “BOHEMIAN RHAPSODY” // QUEEN

12. “WE ARE THE CHAMPIONS” // QUEEN

This stripped-down version of “We Are the Champions” proves, yet again, what made Freddie Mercury one of rock’s most iconic vocalists.

]]>
https://www.thelooploft.com/blogs/ryans-corner/learn-how-to-program-classic-drum-beats-with-funklet2016-08-22T09:46:00-07:002016-08-22T09:48:31-07:00Learn How To Program Classic Drum Beats With FunkletRyan Gruss
Ever hear a drum beat and wonder how to recreate it on a drum machine or sequencer? Fortunately, Funklet is now here to help you! Click below to see (and hear) how to create the classic drum groove from Steve Wonder's "Superstition":

Want to learn the grooves to other iconic song? Click here to see everything Funklet has to offer!

]]>
https://www.thelooploft.com/blogs/ryans-corner/are-you-a-music-production-genius2016-07-12T11:46:00-07:002016-07-13T15:36:41-07:00Are You A Music Production Genius?Ryan Gruss

Ready for another test? Click here to see if you can keep perfect time!

]]>
https://www.thelooploft.com/blogs/ryans-corner/auctioneers-hip-hop-beats-internet-gold2016-07-05T14:18:00-07:002016-07-05T14:35:12-07:00Auctioneers + Hip Hop Beats = Internet Gold?Ryan Gruss
Who knew auctioneers had so much flow? Apparently, you just need to layer in some 808 kicks and rolling hi hats and you've got yourself a mixtape masterpiece.

]]>
https://www.thelooploft.com/blogs/ryans-corner/162873351-money-management-for-musicians-1012016-05-04T14:55:00-07:002017-10-06T12:29:57-07:00Money Management for Musicians 101Ryan Gruss
Making money in the music business is harder than it's ever been. And knowing what to do with that money in order to survive is even harder. In this video, saxophonist (and Loop Loft artist), Bob Reynolds, provides an excellent tutorial on managing your money wisely while trying to maintain a career as a professional musician.

Want more info like this? Subscribe to Bob's YouTube channel where he vlogs daily, providing an inside and personal look on what it's like to live, work, and survive as a professional musician (and balance life as a married father of two) in Los Angeles.

40 is the Grammy-winning producer behind the sound of Drake’s innovative productions. In this new video, watch him talk about building his Toronto studio with workflow in mind, share production tips, and explain how MASCHINE and KOMPLETE KONTROL fit perfectly into his philosophy of delivering maximum artistic authenticity through simplicity.

]]>
https://www.thelooploft.com/blogs/ryans-corner/159238663-how-to-create-ableton-drum-racks-with-scrollable-pad-banks2016-04-27T08:19:00-07:002016-04-27T08:20:05-07:00How to create Ableton Drum Racks with Scrollable Pad BanksCliff Callender
One of the biggest time wasters we deal with as producers is sifting through folder after folder of one shot sounds each time we start a song. Luckily, if you're a Live user, with some quick configuration you can make a drum rack that let's you scroll through your sounds quickly with an encoder on a midi controller.

In Live's Browser, highlight a few sounds of the same type. We're using kicks in the example below. Command + Drag them on to a cell in a drum rack. This creates an instrument rack on the cell with each kick sample on a different chain:

Click on the "Chain" box to reveal the chain view. Select all chains and drag them out over a range that's equal to or larger than the amount of samples you have. In other words, if you have 8 drums, drag the range over to at least 8.

Right Click and select "Distribute Ranges Equally":

You should now see something like this. The orange indicator hovered over the "0" is the Chain Selector Ruler. Whatever chain, or in this case whatever drum sound it hovers over gets played back when we strike that pad. If you move the selector over a different sample, it'll play a that new sample when you strike the pad:

In order to make this rack scrollable, we can assign a macro to the orange Chain Selector Ruler. Right Click it, and select Map to Macro 1. This macro knob can now scroll through the different samples in the rack. Rename it to "Kick Select" using CMD + R:

One last thing to do is tocustomize the range of the macro knob. By default, a macro will scroll from the values 0-127. But your kit you may only have 8 drums or so, like we do here. If this is the case, click the "Map" button on top of the instrument rack. This will open the Macro Mappings section on the left of your screen. Under "Kick Select" change the Min - Max values from 0-127 to 0-7 if you have 8 Drums. (Sample 1 = Macro value 0, Sample 2 = Macro Value 1...Sample 8 = Macro Value 7).

If you don't take this extra step, you'll have a bunch of extra scroll space on your controller that doesn't get used since the Chain Selector will attempt to access too far down the list of samples.

You can repeat this process on the other cells in your Drum Rack for a full kit of scrollable sounds from your library. Save the whole thing in a Default Set and you're ready to go at the start of every session.

Electronic musician and producer Tim Exile showcases his REAKTOR-based live performance/composition extravaganza, which uses his latest NI instrument – FLESH. Take a deep dive into the world of REAKTOR with highlights from Native Sessions: Play. Patch. Build. events in Berlin, London, LA and Amsterdam. Click here for more info.

]]>
https://www.thelooploft.com/blogs/ryans-corner/155914247-mark-guiliana-how-to-be-original-as-a-drummer2016-04-20T13:28:00-07:002016-04-20T13:28:37-07:00Mark Guiliana: How To Be Original As A DrummerCliff Callender

As a drummer, Mark Guiliana said he's always felt a great pressure to be unique. We asked him what helped him attain that originality, and how others could achieve it themselves.

For the full written feature, Mark's interview is available in Issue 12 of The Drummer's Journal, which can be viewed and downloaded for free here.

Mike Dean is an elite producer, live musician, and writer that has worked with some of the biggest artists across generations and genres. Getting his start producing and playing for Selena, his sonics have since fueled The Geto Boys, Rihanna, Travis Scott, Kanye West, and countless others in between. Recently, Mike spent a weekend in the Moog Music Factory, surrounded by analog synthesizers and immersed in an environment of experimentation. He selected 6x Mother-32 synthesizers to create his sonic palette and a Voyager XL as his master controller. This is what he synthesized...

]]>
https://www.thelooploft.com/blogs/ryans-corner/152762759-maximizing-your-first-tour-part-2-on-the-road2016-04-14T13:53:00-07:002016-04-14T13:53:31-07:00Maximizing Your First Tour, Part 2: On The RoadCliff Callender

In part one of our series on Maximizing Your First Tour, we took a look at some of the steps you can take before hitting the road that will help ensure your run is successful. Today we're looking at actual road life and discussing some of the things you can do to make the experience cost effective and productive.

Shoot Everything

Tour footage, photos, and B-roll should be captured and shared throughout the entire process. When you look at so many of the successful campaigns of big artists, a core element is their tour media. Capture sound check footage, record video from the stage, even barter free admission and some drink tickets to have a friend shoot from the crowd. Do whatever you can to grab as many videos and photos as you can, even if you don't use it until later. Also, take advantage of live high-engagement platforms like Facebook Live, Snapchat, or Periscope while you're traveling. It allows you to develop a more personal relationship with the people supporting your art, and that's always a great thing.

Local Networks

There's enough planning and running around to do during a tour to keep you more than busy, but it's important to get out and support other scenes if you can. During off days, see if there's a local show you can check out. Hearing what other band's are doing and gauging how the crowd responds is a great way to develop your own set. It's also a chance to network with the staff of the venue, fellow artists, and even potential fans. Usually the conversation with a stranger leads to "where are you from?" Follow that up by mentioning that you're on tour and wanted to check out the local talent. You'll be asked about your own music almost every time.

Lay Low

Breaking the bank on lodging is a common pitfall that can be avoided easier than ever nowadays. Airbnb can be a great resource for cheap lodging, especially in big music towns. You'll find a few renters who specifically cater to touring artists, and as such usually have some applicable perks. I met one such renter in the midwest US who only took in artists. Her husband ran a music shop, and they'd repair gear and replace cables for dirt cheap, in addition to stocking the fridge with snacks they encouraged us to take. Their basement had a rehearsal space with amps, and a recording rig. We ended up cutting a remix in between shows for cheaper than it would've cost to book a studio.

There's other ways to save on lodging too. For starters, speak with the venue manager or promoter and ask if they have a relationship with a local hotel that can yield a discount. In some towns, a personal cosign can go much further than Expedia will. Alternate lodging like hostels can also save a ton of money in a pinch. Depending on your genre and market, also consider applying for some hotel dates as entertainment in exchange for a room. While DJing as support for a tour, I secured a free stay in New Orleans for the whole team because I agreed to spin a funk/disco party in their bar during one of our off nights. Get creative and get to sleep.

Eat To Live

It gets really easy to spend half of your money on food when you're on the road. Depending on how you're traveling, you may be at the liberty of whatever's available, but try your best to eat meals that are cost effective and good for you. If you're commuting by bus or van, plan for stops at local markets instead of raiding the fast food and convenience centers on the highway. While there, stock up on things like fruit, nuts, and health bars for on the go snacks, and hit the deli for warm meals. If you do prefer sit down for a meal, use Google/Yelp and search for good cheap eats rather than shooting blind. Your body and wallet will thank you.

Emergency Fun(d)

Things go wrong on the road. It's inevitable. While driving through the midwest for a tour last year, our engine blew out about an hour from the venue. The unexpected cost of a last minute cab to play, and blatantly overpriced repairs set us back a pretty penny. During another run, our macbook died during an off day, resulting in a computer rental and repair fee. In both cases, I'd gone on the road with a bit of extra money set aside just in case something goes wrong. You should too if you're not operating with a lot of capital to spare as so many of us artists do.

Pink Floyd's "Cymbaline" is one of our favorites from the band, so to see it performed in such an intimate setting is pretty awesome. Seeing David tune Roger's bass mid set, also pretty awesome. Between the natural sound in the room, and the tape delays and reverbs being used, there's a ton of character in this one, especially with headphones on. Vibe out for a few and let us know which live performance from Pink Floyd is your favorite by hitting the comments.

Personnel: Joey Ramone - lead vocalsJohnny Ramone - guitarDee Dee Ramone - bass, vocalsMarky Ramone - drumsSummary: This powerful and rare recording of the Ramones was culled from the private archives of the late Bill Graham. Recorded three days after Christmas in 1978 at Winterland in San Francisco, it features the seminal punk band in what many feel was its strongest musical period. The band line-up featured here included vocalist Joey Ramone (Jeff Hyman), guitarist Johnny Ramone (John Cummings), bassist Dee Dee Ramone (Doug Colvin), and drummer Marky Ramone (Marc Bell), who had recently replaced original drummer Tommy Ramone (Tamas Erdelyi). Tommy Ramone, a driving force behind the initial band, decided he enjoyed working in the studio more than touring and was now engineering and producing the band's albums.

For this show, all the classics are here, and the band was pumped up, to say the least. The Ramones had just come off the release of their successful late 1977 release, Road To Ruin and were about to see the premiere of Rock N Roll High School, a Roger Corman-produced feature film starring the band. Also during the time of this recording, the band was in the studio with legendary producer, Phil Spector, working on the album that would become End Of The Century.

This recording opens with a fade-in to "Rockaway Beach," which, though incomplete, sets the mood for the entire show. That song is followed by a non-stop barrage of sonic attacks that includes "Teenage Lobotomy," "Blitzkrieg Bop," "I Don't Want You," "Go Mental," "Rock N Roll High School," "I Wanna Be Sedated," "Sheena Is A Punk Rocker," "I Don't Wanna Walk Around With You," and several others.

In true Ramones' style, few of these songs exceed two minutes and 30 seconds, and several clock in at about 90 seconds. Each song shines in its own distinct way, thanks largely to the vocal delivery of Joey Ramone. They also offer some interesting covers, including a remake of the Searchers 1965 hit, "Needles and Pins" (co-written by a pre-Sonny & Cher songwriter, Sonny Bono, and producer Jack Nitzsche), a high-octane re-working of the 1963 Trashmen hit, "Surfin' Bird," and the early '60s pop classic, "Do Ya Wanna Dance." Ending the show with "We're A Happy Family," the band never lets up the energy throughout the entire performance.

Although the Stooges, The MC5, and The New York Dolls cut the pathway that most punk bands would follow, The Ramones were arguably the most important American punk band because of their widespread popularity and long-standing musical legacy. Formed in 1974, the band released their debut LP in 1976 and remained active until they completed the 1996 Lollapolooza Festival Tour. They energized the Manhattan club scene with a raw intensity that in 1974 and '75, helped put New York havens such as CBGBs and Max's Kansas City at the forefront of a brave new musical scene. The band continued through into the early 1980s as punk's premier band, but their popularity dwindled as the techno movement took hold and MTV took over the music industry.

They would remain together with Joey and Johnny Ramone and other members coming and going through 1996, despite the fact that Joe and John had longstanding differences and hardly spoke to each other during the last four years the band was together. Sadly, within three years, between 2001 and 2004, Joey, Johnny, and Dee Dee Ramone would all be dead. Joey and Johnny died of cancer and Dee Dee died of a heroin overdose.

Today, the Ramones are considered the quintessential American punk band.

The pocket is that very special place where the beat sits. The space between the notes. The ghost notes between the backbeats. All of this plays a special role in creating the pocket and is the difference between a "stale" drum loop and one that instantly makes your track feel right.

With Pocket Drums Vol 1, we've produced the first MIDI drum library entirely devoted to the pocket. Featuring six different sessions (each focusing on a different vibe), we put some seriously deep pocket loops at your fingers, all organized into verses, choruses and fills. Just drag, drop and let the pocket take over!

Keyboard shortcuts are an invaluable tool in a producer's workflow. It may just seem like a minor convenience to not have to dive through menus, but the minutes saved over time will truly add up over your career. Furthermore, shortcuts make it easier to stay in the rhythm of songwriting by keeping the pace up in between actions. Ableton provides a full list of Live's shortcuts online, but we thought it'd be a good idea to give you some essential starters to commit to memory before tackling the huge list.

Precision Control: ⌘ + Drag (Mac) | CTRL + Drag (PC)

Using this shortcut allows you to make more precise movements when adjusting parameters and moving clips around. This is really useful when working with devices with resonance or distortion, as you can increase the amount safely while honing in on your sound.

Deactivate: 0

The "0" key deactivates almost anything in Live. Click a clip in arrangement view and hit 0, and it deactivates, preventing the clip from playback during your song. Clicking on a track header and tapping 0 will mute the channel. Doing the same on an effect or plugin will toggle the plugin off. Auditioning sections of your song with different elements deactivated is a crucial step when finalizing your arrangement. You'd be surprised how often things are pushed forward by turning something off

Clickingon a loop brace and typing this shortcut will either cut the size of the loop in half, or double it. This works in arrangement view when looping a whole section of your song as well as in clip view, when looping a part of a clip.

Play from Stop Point Instead of Track Origin: Shift + Space

Normally when you hit the space bar to stop playback in arrangement view, pressing the spacebar again will return the cursor to the beginning of the song. Click Shift + Space when restarting to resume playback from exactly where you stopped the cursor, useful for writing and overdubbing.

﻿Consolidate: ⌘ + J (Mac) | CTRL + J (PC)

Highlight two or more midi clips in arrangement view and use this shortcut to consolidate them into one clip. This makes it easy to apply quantization or to transpose large sections. Doing the same to audio clips combines them into a single new file. If your session has multiple small audio clips on a single track, vocal comps for example, consolidating can save some computer strain as your machine will have to access less files simultaneously.

As artists, very few things inspire us as much as seeing how other artists create. We love to check out the home studios, live rooms, and dj booths that you call your lab. So for a bit of fun, we're running a contest on Instagram where you can win $1000 in store credit just by showing off your workspace!

To enter, follow us on Instagram and tag a photo of your space using the hashtag #LoopLoftLabs. On April 26, we'll select a lucky winner who will walk away with a gang of free high quality sounds to add to their collection.